Who can supervise my thesis?

I would welcome PhD enquiries from students working in various areas of European film and/or visual culture, media history and media archaeology, sponsored/ephemeral film, digital cinema and theory, or experimental/avant-garde practices. I am particularly interested in projects that make use of archival research to bring new insights into film and media history.

I would welcome projects from students working in various areas of film and television performance and aesthetics, affect and embodiment in film, audio-visual design, film sound, film criticism, genre (especially horror and melodrama) and American cinema.

I would welcome projects from students working in silent and early film studies, media theory and archaeology, film comedy, German cinema, animation, film theory (especially psychoanalysis and the Frankfurt School).

I am interested in supervising doctoral theses on these broad topics: stars studies; performance and silent cinema; queer cinema and queer theory; sexual, gender, and national identity in British, European, and Hollywood cinemas, within frameworks of cultural analysis and theories of representation; crip theory; representations of normativity and its contestations.

Currently I supervise students working on film and history, film festivals, and Eastern European cinema and national identities in film. I receive many queries from potential students, mainly in two of the areas of my expertise: A. transnational cinema and film festivals/global film circulation and B. Eastern European/Balkan cinema. These remain the areas in which I am still mainly interested in supervising research students.

I would welcome projects from students working in various areas of South Asian cinema and media history, transnational visual and material cultures, film and politics, documentary film with a specific interest in questions of community and public sphere, film spectatorship, and violence and questions of representation.

My research interests are in East and Southeast Asian cinemas, experimental film and documentary, sound in audio-visual media, censorship and film activism and I particularly welcome PhD students whose work relates to any of these areas.

I would welcome approaches from research students working on projects related to aspects of film history, colonial cinema, British documentary, early American cinema, world cinemas (especially pre-1960), non-theatrical film practices, and educational and government film. I would be particularly interested in supervising projects that engage with primary research materials or that work with film archives.

I am interested in advising students working in the area of film and social justice, representations of genocide and the Holocaust, trauma, collective memory, documentary, visual anthropology, media anthropology, and film industries (including tourism).